Friday, November 25, 2016

1. I am good for only one "major" read in a year. I had set out wanting to read this and Proust this year. Alas, I was only able to make it through Ulysses.

2. It's okay to have another along to help you out the first time through. In this case, it was Blamire's The New Bloomsday Book.

3. I realize that Joyce was, indeed, a literary genius. I can see why some writers would quit writing after reading Ulysses, as he is a master of the written word. His flitting from voice to voice and style to style without losing the narrative is proof enough. That said, there are moments of tedium, some of them many pages long, that rival and exceed even the great Moby Dick for sheer boredom. When he's on, he's on, when he's off, he's drop-dead boring . . . and no academic pretense that you want to learn something about whaling (which you really don't, let's face it) will save you this time.

4. I realize that Joyce plays domestic angst in an excruciatingly understated way. He creates excellent tension by what he does not say, as much as by what he does say.

5. The funeral/underworld scene is an astounding piece of work. I felt sadness, pity, annoyance, and laughed aloud, all at once. Such a mixing bowl of emotions in that section. My innards are all tumbled around after that, like I don't know which way is, emotionally speaking, up.

6. Anyone who coins the acronym "K.M.R.I.A" deserves a statue. Or did he coin the term? Either way, he inspired The Pogues to use it in a song, which deserves a statue in its own way.

7. Jest on. Know thyself. may be all you need to know about Joyce and the notion of fiction as autobiography.

8. I love the "sirens" section, with its sing-song rich voice, which feels like it was written in the shadow of Finnegan's Wake. It's one of my favorite places to be a brain.

9. I need to read all of Finnegan's Wake.

10. "-Tis a custom more honored in the breach than in the observance." may be the most clever pun I've ever heard. Ever.

11. I love the sections where Joyce is seemingly channeling Lovecraft, then Dunsany, then Wavy Gravy.

12. The sentence: "The heaventree of stars hung with humid nightblue fruit." may be one of my favorite sentences of all time.

Monday, November 7, 2016

I have two confessions to make: 1) I don't like Neil Gaiman's fiction. I . . . just . . . can't. So kill me. 2) My single experience with Neil Gaiman in person left me feeling a little snubbed. Long story, but I met him at the World Fantasy Convention, where I approached him and tried talking to him, but I found him rather cold and uninterested, constantly looking for important people to talk to. I don't want to go on and on (I could) about the whole experience, but that is the summation of my feelings. I frankly didn't like him much. In fact, I think he was kind of a jerk.

So why did I want to talk to him at all, you ask? Well, in the comics desert wasteland that was the 1990s, his comic The Sandman was a bright spot in a rather dull universe. It was one of my favorite comics of that decade.

The opening story of the '90s Sandman series begins with the main character, Dream, being captured via an occult ritual. The iconic image of a black-cloaked figure wearing a gas mask lying in a fetal position, surrounded by magic sigils immediately caught my attention when I first saw it, as it caught the attention of tens of thousands of other readers. Like Morpheus, I was smitten.

The Sandman: Overture is an accounting of events in the world of the Sandman mythos that led up to this imprisonment. I hate to use the term "prequel," as that term is tainted by a couple of really bad examples of retroactive storytelling wherein the original (which occurs later, chronologically) is demeaned by the "prequel". Two movies should clearly demonstrate this: Phantom Menace, and The Hobbit. But I digress.

As I said earlier, I don't care much for Gaiman's long-form fiction. I tried Anansi Boys and just couldn't. I've dipped my toe in a couple of others, as well, but have found myself growing bored quickly and have had to move on to something else. I hear American Gods is good, and maybe I should read that someday, since part of it takes place in a setting that is a forty-five minute drive from my house.

That said, here Gaiman hits his stride. As you would expect, it's a strange story, full of subtleties and deception. Political intrigue abounds, and there is some moving pathos there, especially when the character Hope enters the picture, then exits, then reenters . . . changed, yet much the same.

But let's not kid ourselves. While you may forget all the intricacies of the story, one thing you will not forget is the art. At this point, this is the most beautiful graphic novel I have ever laid eyes on.

EVER!!!

J.H. Williams' art is absolutely stunning. At times, the illustrations will make your head spin - quite literally, if you're not willing to turn the book around a few times to follow some of the more serpentine configurations. A few fold outs invite the reader into the book - as immersive an experience as you are likely to have reading a graphic work. And Dave Stewart's colors are a roiling phantasmagorical dream in vivid color. The difference between this work and so many other graphic novels is that the illustrations and color here were designed. Not just drawn and inked, but designed, carefully. There is a craft happening here that is a ritualistic invocation of the imagination. It is a solemn, nearly worshipful thing to read this work, and utterly immersive.

It is obvious, from reading the book, that Gaiman is a much deeper person than I give him credit for. Maybe he was having an off day and needed some more familiar faces or he was sick of fans or whatever, I don't know. At the least, I can't hate him, after reading this. I might pity him, as I do Morpheus, but I can't hate him. I love this work too much.

Forrest Aguirre

Among other things, Forrest Aguirre writes fiction. Forrest's novel, Heraclix & Pomp, is available from Resurrection House. You can find more of his work at Smashwords and Amazon or connect with him on Twitter and Tumblr. His work has appeared in over 50 venues including Asimov's, Gargoyle, Apex Magazine, and American Letters & Commentary and in such anthologies as Polyphony and Paper Cities. Forrest is also an avid tabletop role-playing gamer, having been first introduced to Advanced Dungeons & Dragons back in 1978, when he was a wee lad. He lives, writes, and games in Madison, Wisconsin.